SNL Transcripts: Peter Cook & Dudley Moore: 01/24/76: Peter Cook and Dudley Moore’s Monologue



 Saturday Night Live Transcripts


  Season 1: Episode 11



75k: Peter Cook & Dudley Moore / Neil Sedaka

Peter Cook and Dudley Moore’s Monologue

… Peter Cook
… Dudley Moore

Don Pardo: Ladies and gentlemen, Peter Cook and Dudley Moore!

Peter Cook: Thank you!

Dudley Moore: Thank you very much.

Peter Cook: Good evening, ladies and gentlemen, thank you very much. Uh, if there’s, uh, any confusion amongst you about which one of us is which …

Dudley Moore: Mm.

Peter Cook: … I think we ought to clear that up.

Dudley Moore: Certainly, yes.

Peter Cook: I’m the, uh, I’m the tall one.

Dudley Moore: Good.

Peter Cook: And I’d also like to say something about the difference between English comedy and American comedy. We, uh, we tend not to have very many sort of zappy one-liners or anything like that.

Dudley Moore: No. It’s more sophisticated, you know, really. More, um… understated.

Peter Cook: Well, it’s more understated, I’d say.

Dudley Moore: Mm.

Peter Cook: Very understated, very subtle.

Dudley Moore: Yes.

Peter Cook: In fact, we’ve been here two years performing without a laugh.

Dudley Moore: Right. Right, and in fact I – I – I would think probably very few of you realize that we – we’ve cracked three wonderful jokes during these last few seconds. You see?

Peter Cook: It’s probably the sort of joke which will sink in about half an hour later.

Dudley Moore: Right, it’ll just grow and then people’ll be falling off their seats, you know.

Peter Cook: And just – just – just cracking up.

Dudley Moore: Yeah, absolutely.

Peter Cook: Anyhow, I think we should give an example of the sophisticated, understated English humor.

Dudley Moore: Why not? I’ll – I’ll get into some things.

[Moore walks off, a red curtain slides into view as a backdrop, Cook retreats to the curtain.]

Peter Cook: He’s gonna get into some extremely sophisticated English costumes and we’ll move right along with this, uh, curtain or drape as you call it. The scene is set in a producer’s office. [moves a chair to center stage] By the magic of placing a chair in the middle of this place, we have conjured up a producer’s office. [in character, calls out to stage right] Uh, Miss Rigby? Stella, my love? Would you send in the next auditioner, please? Thank you, my dear.

[Enter Moore, grinning broadly, wearing trench coat, hopping on one leg, the other leg — the left one — tucked under the coat – he hops over to Cook and shakes hands.]

Peter Cook: Nice to see you.

Dudley Moore: [still hopping up and down] Nice to see you.

Peter Cook: Settle down. [puts a hand on Moore’s shoulder and stops his hopping] Uh, Mr. Spiggott, is it not?

Dudley Moore: Yes, Spiggott’s the name, acting’s my game.

Peter Cook: I see. Spiggott is the name and acting is your game.

Dudley Moore: Right.

Peter Cook: If you’d like to settle down for one moment, Mr. Spiggott.

Dudley Moore: Certainly, yes.

Peter Cook: Thank you very much. [Moore hops over to the chair and rests his “stump” on it] Mr. Spiggott, er, you are auditioning, are you not, for the role of Tarzan?

Dudley Moore: Yes.

Peter Cook: Uh, Mr. Spiggott, I, uh, I couldn’t help noticing — almost immediately — that you are a one-legged man.

Dudley Moore: Oh. You noticed that?

Peter Cook: When you’ve been in the business as long as I have, Mr. Spiggott, you, uh, you get to notice these little things, almost instinctively.

Dudley Moore: Yeah. Sort of ESP.

Peter Cook: That kind of thing, yes.

Dudley Moore: Mm, yes.

Peter Cook: Now, Mr. Spiggott, you, a one-legged man, are applying for the role of Tarzan.

Dudley Moore: Yes, right.

Peter Cook: A role traditionally associated with a two-legged artiste.

Dudley Moore: Yes, correct, yes, yes.

Peter Cook: And yet you, a unidexter… are applying for the role.

Dudley Moore: Yes, right, yes.

Peter Cook: A role for which two legs would seem to be the minimum requirement. Well, Mr. Spiggott, need I point out to you with overmuch emphasis where your deficiency lies as regards landing the role?

Dudley Moore: Yes, I think you ought to.

Peter Cook: Perhaps I ought, yes. Need I say with, uh, too much stress that it is in the, uh, leg division that you are deficient.

Dudley Moore: The leg division?

Peter Cook: The leg division, Mr. Spiggott. You are deficient in the leg division to the tune of one. Your right leg I like. It’s a lovely leg for the role. As soon as I saw it come in, I said, “Hello! What alovely leg for the role!”

Dudley Moore: Ah!

Peter Cook: I’ve got nothing against your right leg.

Dudley Moore: Ah!

Peter Cook: The trouble is — neither have you. [delayed applause] You, uh, you fall down on the left.

Dudley Moore: You mean it’s inadequate?

Peter Cook: It is inadequate, Mr. Spiggott.

Dudley Moore: Mm.

Peter Cook: In my view, the public is not yet ready …

Dudley Moore: No?

Peter Cook: … for the sight of a one-legged Tarzan swinging through the jungly tendrils, shouting “Hello, Jane.”

Dudley Moore: No. No, right.

Peter Cook: But don’t despair, Mr. Spiggott. I mean, after all, you score over a man with no legs at all. By one hundred percent.

Dudley Moore: Well, I’ve got twice as many.

Peter Cook: You’re streets ahead!

Dudley Moore: So there’s still hope?

Peter Cook: Of course there is still hope, Mr. Spiggott.

Dudley Moore: Ah!

Peter Cook: I mean, if we get no two-legged character actors in here within, say, the next, oh, [checks his wristwatch] eighteen months, there is every chance that you, a unidexter, will be the very type ofartiste we shall be attempting to contact with a view to jungle stardom.

Dudley Moore: [likes the sound of that] Jungle stardom.

[Moore gets off chair, shakes hands with Cook while hopping up and down.]

Peter Cook: I’m just sorry I can’t be more definite at this stage.

Dudley Moore: Oh, good Lord!

Peter Cook: But you must understand … these days. We’ve so much tied up in the remake of Gone With The Wind, Part Four, we can’t afford…

[Applause drowns out some of Cook’s parting comments to Moore who exits right, hopping and waving goodbye. The SNL band begins to play and Cook, alone on stage, does a little hopping himself to the music as we fade out.]

Submitted Anonymously

SNL Transcripts

]]>

Author: Don Roy King

Don Roy King is directing his fourteenth season of Saturday Night Live. That work has earned him nine Emmys and thirteen nominations. Additionally, he has been nominated for thirteen DGA Awards and won in 2014, 2016, 2017, 2018 and 2019. Mr. King is also the creative director of Broadway Worldwide which brings theatrical events to theaters. The company has produced Smokey Joe’s Café; Putting It Together with Carol Burnett; Jekyll & Hyde; and Memphis, all directed by Mr. King. He completed the screen capture of Broadway's Romeo & Juliet in 2013. - LinkedIn

avatar
  Subscribe  
Notify of